Saga of Tanya the Evil

Episodes 1-3

The original Japanese title for this light novel-based series is Yōjo Senki, which more directly translates as “The Military Chronicles of a Little Girl.” So its official English title may be wildly different, but the literal version definitely lacks the attention-catching appeal of "Saga of Tanya the Evil," and it definitely still fits the material.

Regardless of the name, a proper impression of this series cannot be garnered from the first episode alone. The premiere jumps into the midst of its story and promotes itself almost entirely on cool factor, while the second episode is where the background and underpinnings of the story actually lie. This approach isn't necessarily a problem, since the series is very good at selling itself on cool factor, but without the framing provided by the second episode, some of the series' more crass aspects can promote strongly negative reactions; this is a show with a deeply militaristic bent that certainly seems to delight in the wicked temperament of its incongruously young heroine. So I would encourage anyone who isn't crazy about the first episode to at least give the second episode a shot.

The second episode broadens the series' scope dramatically by firmly establishing a core part of the premise: Tanya isn't actually some twisted little prodigy on a power trip, but a middle-aged office manager who has been reincarnated as a little girl in an alternate version of early 20th-century Europe, on the cusp of a somewhat delayed World War I. Since his consciousness remains fully intact, this is effectively a more dramatic variation on the “transported to another world” concept, an impression furthered by his discovery that he has potent abilities in this new world. (Magic is an uncommon but known complement to technology in this setting, and Tanya has a great talent for it.) However, unlike others in his situation, Tanya starts out as a baby and has to grow up naturally as an orphan, a process that's greatly shortened via big time skips. Like many other recent characters of his ilk, Tanya applies meta-knowledge to help him survive and prosper, but unlike all the others, it's based on practical experience rather than otakudom. This casts Tanya's actions in an entirely new light and makes her behavior much more plausible, though it doesn't necessarily assuage the discomfort some viewers may have with seeing a little girl act this way.

But the show's real distinction is the attitude of the unnamed man who becomes Tanya and how he got into this situation. He wholeheartedly and ruthlessly embraced a rigorous worldview, where advancement is based on merit and compassion for those who don't carry their weight simply has no place. God doesn't fit into this worldview either, which becomes a problem when God speaks to him in a freeze-framed moment right before he meets his death from being struck by a subway train. (A disgruntled former employee who he had just fired pushed him into its path.) The man rejects the entity he refers to as Being X and regards the difficult circumstances of his reincarnation as Being X's ploy to force him to believe in God. Thus, his life in the alternate world becomes as much about him trying to prove Being X wrong – that he doesn't need faith to get by in the world – as it is about survival.

That's a much headier philosophical underpinning than series of this type normally aim for, and it's the biggest factor that currently separates the series from others of its ilk. It recasts some parts of the first episode in a new light: Tanya sending the two discontented soldiers off to a pillbox, with the implication that she had them sent there to get killed. In retrospect, this wasn't just evil for the sake of being evil; it was her way of ruthlessly weeding out elements who won't conform. Her evilness is an outgrowth of worldview rather than simple amorality. The second episode also shows that any patriotism she displayed in the first episode was simply lip service given to support her long-term ambitions; she doesn't give a damn about the Fatherland except as a tool for securing a life of comfort. The prayers Tanya voices in episode 1 to invoke her most potent magic are revealed in Episode 3 to be something that Being X has manipulated her into doing under the assumption that belief will eventually sink in if prayers are offered enough. I could probably write an entire essay about how loaded a statement this is about religious belief systems, but suffice to say, there's a lot of food for thought here if you want to delve into it.

So far, the series has been entirely about Tanya, but much of the first episode is actually shown from the viewpoint of Viktoriya, her chief subordinate. Viktoriya is a more patriotic and moral character, so she could serve as a foil and point of contrast to Tanya, though the series has yet to use her much more in that capacity as of the first three episodes. Aside from Being X, it's uncertain which other characters will prove to have important recurring roles. I'll bet we haven't seen the last of the crazy scientist though, since he's the source of Tanya's overpowered but tricky-to-use prototype magical jewel.

The series is also visually distinct, with a much darker and earthier cast to its world of early 20th-century warfare than what was seen in last season's Izetta: The Last Witch. Tanya is the visual standout, especially with her weird bushy eyebrows and the best gleefully wicked expressions this side of Overlord, while Viktoriya seems out of place with her huge puppy-dog eyes and softer features. Attention to detail on both military uniforms (based distinctly on German Imperial styles) and combat equipment, both real-world and magical, is impressive, and the flight systems used by each side are creative and distinctive. The debut lead animation effort by Studio NuT has been consistently and impressively sharp and steady, resulting in some thrilling aerial combat sequences; so far, this is easily one of the best-looking series of the season. It's one of the better-sounding ones too, with a weighty score that amply enhances key scenes, a kickin' opener by MYTH&ROID, and a strong closer sung by Aoi Yūki.

Speaking of Yuki, the Japanese vocal effort also deserves some comment. She has the impossible task of trying to give Tanya a cute girly voice while still making it sound like her words come from the mind of a middle-aged man. To do this, she pitches her voice below the range that would normally be expected for a 9-10 year old girl and gives her delivery a sharply cynical tone. I have yet to decide whether this was a good choice or not, since sometimes it just sounds weird. I could easily see it being a major issue for some viewers.

Although the series has been almost entirely serious – even heavy – so far, it does show at least some capacity for humor, such as the irony that the actions Tanya takes to forge a path to an easier life inadvertently make her a hero or how mortified she is about being dolled up (literally!) at the end of episode 2. Humor doesn't seem like it's going to be a major component of the series though, and so far it hasn't been used distractingly. (See last season's Drifters for a polar opposite example.) Overall, these first three episodes have the definite capacity to forcefully turn some viewers away, but absolutely everything about them clicks for me. So far I'd pick this even over KONOSUBA 2 as the series I most adore this season.

Rating: A

Saga of Tanya the Evil is currently streaming on Crunchyroll.